Cinema is the popular art form which has been a good entertainer and a strong means of mass communication in Kerala from the previous century itself. It has the elements of different art forms including architecture and sculpture in it.
The viewers in Kerala enjoy the films comprehending the reality in it. The possess high insight in distinguishing reality from fiction in the themes of experimentalism. Malayalam Cinema has contributed much to the creative and critical analysis sectors of Malayalam literature.

The all time geniuses like Aravindan, Adoor Gopalakrishnan, John Abraham, Ramu Karriat, P A Bakkar, K.G.George, M.T.Vasudevan Nair, Padmarajan, Bharathan, T.V. Chandran, P.N. Menon, Shaji.N. Karun, K. P. Kumaran, K.R.Mohanan, Jayaraj... are the contributors of Malayalam to the world Cinema. Despite these facts now one can make a novel study of current cinema only in connection with the social life here.

The first silent cinema in Malayalam "Vigatha Kumaran" was screened in 1930, when movies abroad has already begun to 'talk' and by 1931 sound films were also made in India.
That year, the second Malayalam cinema , "Marthanda Varma", based on a well-known historical novel by C.V.Raman Pillai, was made. Although sound films were produced in Hindi and Tamil regularly, Malayalam cinema had to wait till 1938 to present its first sound film, "Balan". In the first few years, Malayalam films were virtually dominated by Tamil producers. Whenever they suffered loss in Tamil films, they ventured into Malayalam Cinema, as the investment requirements were comparatively lower. In 1947, the first major film studio, Udaya was established in Kerala and by the early 50s, more Keralites entered this field.

When Hindi and Tamil cinema started off with mythological themes, Malayalam cinema s showed an interest in dealing with social issues right from the very first cinema itself (Balan).
One of the biggest box office hits of the 50s was "Jeevitha Nauka" (Boat of Life, 1951). The film contained all the ingredients that were to form the basis for future commercial productions. The cinema owed its structure more to the village festivals of Kerala than anything else. Cinema was seen as a mixture of various traditional art forms like music, dance, dance-drama, mimicry and so on. Connecting these various disparate elements was a storyline which often showed the triumph of the good over the evil.

Another significant effort was Newspaper Boy (1955) made by a group of college students lead by enthusiastic N.Ramdas. It made use of new actors and tried to portray realistically the travails of an orphaned boy. This film stands out from the rest, because for the first time it dispensed with all the elements of the so called box office formula.

When one looks at these early developments, one finds that Malayalam cinema had time to evolve on its own from its silent days. Much of the visual expression in international cinema was possible because silent film had enough time to germinate and mature by itself. But in the case of Malayalam cinema, sound arrived rather suddenly, and there was no need for Malayalam cinema makers to think of communicating through visual means.

There were parallel streams of storyline going on. All these traits could be found in Neelakuyil. It appears that there was not much pressure from the audience for a tight narrative. An unhurried, leisurely pace was acceptable for the viewers who enjoyed individual moments of the film more than a satisfying whole, although story was of primary importance. This was understandable especially when cinema was seeking to displace the pastimes of an agrarian society and the best way to do it was by maintaining a close equation to village fairs and festivals.

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